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Berliner Philharmoniker
Berliner Philharmoniker Sir Simon Rattle Artistic Director November 12–13, 2016 Hill Auditorium Ann Arbor CONTENT Concert I Saturday, November 12, 8:00 pm 3 Concert II Sunday, November 13, 4:00 pm 15 Artists 31 Berliner Philharmoniker Concert I Sir Simon Rattle Artistic Director Saturday Evening, November 12, 2016 at 8:00 Hill Auditorium Ann Arbor 14th Performance of the 138th Annual Season 138th Annual Choral Union Series This evening’s presenting sponsor is the Eugene and Emily Grant Family Foundation. This evening’s supporting sponsor is the Michigan Economic Development Corporation. This evening’s performance is funded in part by The Andrew W. Mellon Foundation and by the Michigan Council for Arts and Cultural Affairs. Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM. The Steinway piano used in this evening’s performance is made possible by William and Mary Palmer. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s performance. Special thanks to Bill Lutes for speaking at this evening’s Prelude Dinner. Special thanks to Journeys International, sponsor of this evening’s Prelude Dinner. Special thanks to Aaron Dworkin, Melody Racine, Emily Avers, Paul Feeny, Jeffrey Lyman, Danielle Belen, Kenneth Kiesler, Nancy Ambrose King, Richard Aaron, and the U-M School of Music, Theatre & Dance for their support and participation in events surrounding this weekend’s performances. Deutsche Bank is proud to support the Berliner Philharmoniker. Please visit the Digital Concert Hall of the Berliner Philharmoniker at www.digitalconcerthall.com. -
MAGGIE MUGGINS to Mcqueen
MAGGIE MUGGINS to McQUEEN Maggie Muggins Thu 4:45-5:00 p.m., 29 Sep 1955-28 Jun 1956 Thu 5:00-5:15 p.m., 4 Oct 1956-27 Jun 1957 Thu 5:00-5:15 p.m., 3 Oct 1957-26 Jun 1958 Thu 4:30-4:45 p.m., 16 Oct 1958-25 Jun 1959 Tue 4:45-5:00 p.m., 13 Oct 1959-21 Jun 1960 Tue 4:30-4:45 p.m., 18 Oct 1960-26 Sep 1961 Wed 3:45-4:00 p.m., 4 Oct-27 Dec 1961 Wed 4:45-5:00 p.m., 3 Jan-27 Jun 1962 Writer Mary Grannan created Maggie Muggins, a freckle-faced girl in a gingham dress, with her red hair pulled back in two long pigtails. Her stories had been heard on CBC radio and in print for years (See New Maggie Muggins Stories: A Selection of the Famous Radio Stories. Toronto: Thomas Allen, 1947) before Maggie and her friends in the meadow materialized on television in 1955. In the popular, fifteen minute broadcast, Maggie played with friends like Fitzgerald Fieldmouse and Grandmother Frog. When she was caught in a quandary, her neighbour, Mr. McGarrity, usually to be found in checked shirt, straw hat and bib overalls, working in his garden, gave her advice or tried to help her to understand whatever was bothering her. When she was bored or tired, he might tell her a story or cheer her up by leading a song. Along with these principal characters, the meadow was filled with other animal friends, some of whom fit the pastoral setting, others who seemed a little out of place; Reuben Rabbit, Big Bite Beaver, Chester Pig, Greta Grub, Benny Bear, Leo Lion, Henrietta Hen, and Fluffy Squirrel. -
Uot History Freidland.Pdf
Notes for The University of Toronto A History Martin L. Friedland UNIVERSITY OF TORONTO PRESS Toronto Buffalo London © University of Toronto Press Incorporated 2002 Toronto Buffalo London Printed in Canada ISBN 0-8020-8526-1 National Library of Canada Cataloguing in Publication Data Friedland, M.L. (Martin Lawrence), 1932– Notes for The University of Toronto : a history ISBN 0-8020-8526-1 1. University of Toronto – History – Bibliography. I. Title. LE3.T52F75 2002 Suppl. 378.7139’541 C2002-900419-5 University of Toronto Press acknowledges the financial assistance to its publishing program of the Canada Council for the Arts and the Ontario Arts Council. This book has been published with the help of a grant from the Humanities and Social Sciences Federation of Canada, using funds provided by the Social Sciences and Humanities Research Council of Canada. University of Toronto Press acknowledges the finacial support for its publishing activities of the Government of Canada, through the Book Publishing Industry Development Program (BPIDP). Contents CHAPTER 1 – 1826 – A CHARTER FOR KING’S COLLEGE ..... ............................................. 7 CHAPTER 2 – 1842 – LAYING THE CORNERSTONE ..... ..................................................... 13 CHAPTER 3 – 1849 – THE CREATION OF THE UNIVERSITY OF TORONTO AND TRINITY COLLEGE ............................................................................................... 19 CHAPTER 4 – 1850 – STARTING OVER ..... .......................................................................... -
YANNICK NÉZET-SÉGUIN Music Director Walter and Leonore Annenberg Chair
YANNICK NÉZET-SÉGUIN Music Director Walter and Leonore Annenberg Chair Biography, February 2013 Yannick Nézet-Séguin triumphantly opened his inaugural season as the eighth music director of The Philadelphia Orchestra in the fall of 2012. From the Orchestra’s home in Verizon Hall to the Carnegie Hall stage, Nézet-Séguin’s highly collaborative style, deeply-rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike. The New York Times has called Yannick “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.” In his first official season in Philadelphia, Yannick has taken the Orchestra to new musical heights in concerts at home, and has further distinguished himself in the community, with a powerful performance at the Orchestra’s annual Martin Luther King Tribute Concert, working with young musicians from the School District of Philadelphia’s All City Orchestra, establishing a relationship with the Curtis Institute, and ringing in 2013 with his Philadelphia audience with a festive New Year’s Eve concert. Following on the heels of a February 2013 announcement of a recording project with Deutsche Grammophon, Yannick and the Orchestra will record Stravinsky’s The Rite of Spring together. Over the past decade, Nézet-Séguin has established himself as a musical leader of the highest caliber and one of the most exciting talents of his generation. Since 2008 he has been music director of the Rotterdam Philharmonic and principal guest conductor of the London Philharmonic, and since 2000 artistic director and principal conductor of Montreal’s Orchestre Métropolitain. -
Eric Koch Fonds Inventory #472
page 1 Eric Koch fonds Inventory #472 File: Title: Date(s): Note: Call Number: 2004-047/001 (1) Essays/Articles about Koch 1978,1999-2004 (2) Early Fiction, Drafts 1944-1949 (3) Eric Koch, Short CV and Related Biographical 1997-2003 Information (4) Public Archives of Canada/Canada Council, 1980-1987 Correspondence Writing Files (5) The Globe and Mail, Articles/Reviews by Koch 1981-1999 (6) Saturday Night Articles 1944-1945 (7) Attempts, Includes Drafts and Correspondence with 1959-1987 1 of 2 Publishers (8) Attempts, Includes Drafts and Correspondence with 1959-1987 2 of 2 Publishers (9) The French Kiss, Correspondence 1964-1972 1 of 2 (10) The French Kiss, Correspondence 1964-1972 2 of 2 (11) The French Kiss, Clippings, Reviews 1969-2000 (12) Bonhomme the Sixteenth, Correspondence 1969-1972 (13) The Leisure Riots, Publicity 1973 (14) The Leisure Riots, Post Publication Correspondence 1973-1974 Call Number: 2004-047/002 (1) The Leisure Riots, Fan Letters 1973-1975 (2) The Leisure Riots, Contracts, Business Letters 1973-1978 (3) The Leisure Riots, Reviews 1973 (4) Last Thing, Tundra 1975-1978 (5) Last Thing, Reviews, American 1976 (6) Last Thing, Reviews, American 1976 (7) Last Thing, Early Attempts (8) Last Thing, Scribner's 1976 (9) Last Thing, Fan Mail, Post Publication Correspondence, 1976-1977 misc (10) Heyne, German Publisher of Leisure Riots and Last 1987-1988 Thing, Correspondence (11) Good Night Little Spy, Ram Publishing 1979 (12) Good Night Little Spy, Publicity 1979 (13) Good Night Little Spy 1979-1982 (14) Good Night Little Spy 1979 (15) Deemed Suspect, Reviews 1980-1984 (16) Deemed Suspect, Methuen 1979-1984 page 2 Eric Koch fonds Inventory #472 File: Title: Date(s): Note: (17) Deemed Suspect, Montreal Anniversary 1980 (18) Deemed Suspect, Correspondence 1981-1985 1 of 2 (19) Deemed Suspect, Correspondence 1981-1985 2 of 2 (20) Deemed Suspect, Maclean's Magazine 10 Feb. -
A Conductor for the Ages Jonathan E.D
Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2015 yS mposium Apr 1st, 1:20 PM - 1:40 PM A Conductor for the Ages Jonathan E.D. Royce Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Music Performance Commons Royce, Jonathan E.D., "A Conductor for the Ages" (2015). The Research and Scholarship Symposium. 17. http://digitalcommons.cedarville.edu/research_scholarship_symposium/2015/podium_presentations/17 This Podium Presentation is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. A CONDUCTOR FOR THE AGES [Document subtitle] JONATHAN ROYCE HLMU 3320: MUSIC HISTORY April 1, 2015 Royce 1 Music is an interesting idea. It is the epitome of ephemerality. Despite being audible one moment and then gone forever in another, its affects are long lasting. It must have a beginning and an end, but the aftermath can linger within the listener. Not only did Herbert von Karajan direct music in a way that encompassed that description, but he himself encompassed that description. Herbert von Karajan was an Austrian who conducted in Germany in the twentieth century. It can be said that he greatly impacted Germany in the area of musical performance as well as film and recording while he presided as conductor of the Berlin Philharmonic, or Berliner Philharmoniker as it would be called in the native German tongue. -
War on the Air: CBC-TV and Canada's Military, 1952-1992 by Mallory
War on the Air: CBC-TV and Canada’s Military, 19521992 by Mallory Schwartz Thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for the Doctorate in Philosophy degree in History Department of History Faculty of Arts University of Ottawa © Mallory Schwartz, Ottawa, Canada, 2014 ii Abstract War on the Air: CBC-TV and Canada‘s Military, 19521992 Author: Mallory Schwartz Supervisor: Jeffrey A. Keshen From the earliest days of English-language Canadian Broadcasting Corporation television (CBC-TV), the military has been regularly featured on the news, public affairs, documentary, and drama programs. Little has been done to study these programs, despite calls for more research and many decades of work on the methods for the historical analysis of television. In addressing this gap, this thesis explores: how media representations of the military on CBC-TV (commemorative, history, public affairs and news programs) changed over time; what accounted for those changes; what they revealed about CBC-TV; and what they suggested about the way the military and its relationship with CBC-TV evolved. Through a material culture analysis of 245 programs/series about the Canadian military, veterans and defence issues that aired on CBC-TV over a 40-year period, beginning with its establishment in 1952, this thesis argues that the conditions surrounding each production were affected by a variety of factors, namely: (1) technology; (2) foreign broadcasters; (3) foreign sources of news; (4) the influence -
Policy Brief on Orchestras During COVID--Charite Med Univ Berlin
Policy brief about performances of orchestras during the COVID-19 pandemic Prof. Dr. med. Stefan N. Willich, MPH MBA, Priv.-Doz. Dr. med. Anne Berghöfer, Institute for Social Medicine, Epidemiology and Health Economics, Charité – University Medicine Berlin Dr. med. Miriam Karen Wiese-Posselt, Prof. Dr. med. Petra Gastmeier, Institute for Hygiene and Environmental Medicine, Charité - University Medicine Berlin The orchestra boards of trustees and directors of the following Berlin orchestras (in alphabetical order): Berliner Philharmoniker [Berlin Philharmonic] Deutsches Symphonie-Orchester Berlin (DSO) [German Symphony Orchestra Berlin] Konzerthausorchester Berlin [Berlin Concert Hall Orchestra] Orchester der Deutschen Oper Berlin [Orchestra of the German Opera Berlin] Orchester der Komischen Oper Berlin [Berlin Orchestra of the Comic Opera] Rundfunk-Sinfonieorchester Berlin (RSB) [Berlin Radio Symphony Orchestra] Staatskapelle Berlin [Berlin State Orchestra] Berlin, May 7, 2020 Authors‘ notes: The policy brief applies to the orchestra performance and safety of the musicians and serves to make performances possible during the COVID-19 pandemic. Rules and recommendations regarding the audience have to be defined elsewhere. Additional epidemiological developments and new research results must be considered during the implementation of our recommendations. Orchestral performances during the COVID-19 pandemic Overview This policy brief is based on current scientific knowledge and assessments as well as experience of musicians and expert instrumentalists. We recommend the following measures during the resumption of performances by symphony and opera orchestras for the avoidance of risks for coronavirus 2019 diseases (COVID-19). General safeguards: • Symptom mindfulness: Daily self-checking of clinical signs indicating COVID- 19: fever, coughing, runny nose, sore throat, dyspnea, headaches and sore limbs, gastrointestinal problems, feelings of weakness and smell/taste disorders. -
2020/21 Season Join Music Director Jaap Van Zweden and Your Orchestra for the 2020/21 Season
2020/21 SEASON JOIN MUSIC DIRECTOR JAAP VAN ZWEDEN AND YOUR ORCHESTRA FOR THE 2020/21 SEASON. 04 08 10 14 16 18 20 21 22 23 Season Special Curated Curated Curated Curated Matinees Young Membership Subscribe Highlights Events Weekday Thursday Friday Saturday People’s Sampler Series Evening Series Evening Series Evening Series Concerts® GYÖRGY KURTÁG | SAMUEL BECKETT FIN DE PARTIE “Nothing is funnier than unhappiness.” In the dystopian world of Beckett’s Fin de partie (Endgame), we see a blind man, his helpless parents, and his hapless servant bumble and bicker as they wait for an end to their suffering — like four final pieces on a chessboard, waiting for the game to end. Kurtág’s music provides the timeless continuum for the eternal question, one that concerns us in the 21st century now more than ever: how will this universal game play out? The New York Philharmonic presents the US Premiere of Kurtág’s opera based on Beckett’s SEASON TWO tragicomedy in a fully staged production directed by Claire van Kampen (Farinelli and the King) PROJECT 19 and conducted by Jaap van Zweden. 19 Commissions To Celebrate the Centennial of the 19th Amendment nyphil.org/findepartie American women gained the right to vote with the ratification of the 19th Amendment in 1920. The New York Philharmonic is marking the centennial with Project 19, a multi-season initiative to commission and premiere 19 new works by ARTIST-IN-RESIDENCE women, launched last season. The single largest women-only commissioning initiative in history, Project 19 continues in 2020–21. CHICK COREA TAKEOVER Like Mozart, Chick Corea improvises the Unsuk Chin Ellen Reid cadenzas whenever he plays a Mozart piano Mary Kouyoumdjian Maria Schneider ROOMFUL OF TEETH concerto. -
Backstage Access: Why Live? Insight Into the LIVE Classical Music Journey Jennifer Teisinger, Executive Director of Bravo! Vail
Backstage Access: Why Live? Insight into the LIVE Classical Music Journey Jennifer Teisinger, Executive Director of Bravo! Vail My most memorable experience of Gustav Mahler’s Symphony No. 2 was a live performance by the San Francisco Symphony and Chorus with Michael Tilson Thomas conducting. The performance was part of a recording cycle of all the Mahler symphonies, which gave the concert a heightened level of importance and pronounced energy. What I remember most was the end of the 70-minute musical journey. I had this feeling of buoyancy, almost of being lifted up, as the music neared the end. The closing choral text makes the title, “Resurrection” seem inevitable: “I shall die so as to live,” and the words soar with the sound of bells and brass fanfares. With our mobile devices in easy reach at all times, we can listen to the latest Taylor Swift single (yes, I’ve done that), look up the population of Denver, read a review for a nearby restaurant or get directions to just about anywhere in the world. You can also download Mahler’s Symphony No. 2 and listen to it through your wireless Bluetooth speakers or earbuds in any location you choose. But instead, we will choose to gather together on July 16 at the Gerald R. Ford Amphitheater to hear Maestro Yannick Nezet-Seguin’s interpretation of Mahler’s masterpiece with The Philadelphia Orchestra performed LIVE. Recordings are less expensive and more convenient than attending a concert, and with the high quality of today’s studio productions, they sound fantastic. -
Furtwängler Broadcasts/Recordings
Furtwängler Broadcasts & Broadcast Recordings 1927-1954 1st version: February 20, 2002 Latest revision: July 5, 2019 This list of Furtwängler broadcasts/broadcast recordings is based on various private and official lists in my possession. Most of the lists were given to me by Frau Elisabeth Furtwängler during visits in Clarens in the 1970s. I have not tried to verify stations missing from the lists. I have given RRG (Reichsrundfunk Gesellschaft) as source for many WWII broadcasts, which were transmitted from Berlin, Vienna, Bayreuth, or Prague. Many of the dates of these broadcasts stem from an Italian list (from Bologna), written in perfect German! Broadcasts of commercial recordings (78 rpms and LPs) are not included. In November/December 2003, I was asked by Angelo Scottini, Piacenza, Italy, to include his list of Italian broadcasts. January 1, 2004, René Trémine gave permission to include all broadcasts mentioned in his Furtwängler concert listing 1906-1954. April 21, 2008, Norbert Kleekamp forwarded information on the Meistersinger broadcasts from Bayreuth August 1943. February 1, 2010, I included the recorded broadcasts in my discography up to 1945. November 2012, René Trémine sent me a list of amendments, added on January 10, 2013. February 18, 2018, I added broadcasts from the Danish Radio (DR), from the BBC, and from the RRG. March 9, 2018, a few amendments by Stéphane Topakian were added. A few corrections were added on March 25, 2018. March 27, 2018 some broadcasts from the Swedish Radio (SR) were added. Broadcasts up to the end of 1947 from the Austrian database ANNO were added July 1, 2018. -
THE ART of CARLOS KLEIBER Carolyn Watson Thesis Submitted In
GESTURE AS COMMUNICATION: THE ART OF CARLOS KLEIBER Carolyn Watson Thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Conservatorium of Music University of Sydney May 2012 Statement of Originality I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Signed: Carolyn Watson Date: ii Abstract This thesis focuses on the art of orchestral conducting and in particular, the gestural language used by conductors. Aspects such as body posture and movement, eye contact, facial expressions and manual conducting gestures will be considered. These nonverbal forms of expression are the means a conductor uses to communicate with players. Manual conducting gestures are used to show fundamental technical information relating to tempo, dynamics and cues, as well as demonstrating to a degree, musical expression and conveying an interpretation of the musical work. Body posture can communicate authority, leadership, confidence and inspiration. Furthermore, physical gestures such as facial expressions can express a conductor’s mood and demeanour, as well as the emotional content of the music. Orchestral conducting is thus a complex and multifarious art, at the core of which is gesture. These physical facets of conducting will be examined by way of a case study. The conductor chosen as the centrepiece of this study is Austrian conductor, Carlos Kleiber (1930-2004). Hailed by many as the greatest conductor of all time1, Kleiber was a perfectionist with unscrupulously high standards who enjoyed a career with some of the world’s finest orchestras and opera companies including the Vienna Philharmonic, La Scala, Covent Garden, the Met and the Chicago Symphony.